The maximun amount of Reverb ever heard...!!!

killbabykill34

Joined: Apr 03, 2010
Posts: 3201
Jacksonville, AL
United States

Posted on May 23 2013 03:51 PM

mmmmm...Guitar Wolf....mmmmm....Mad 3...

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Aaron

Joined: Sep 13, 2011
Posts: 100

Posted on May 24 2013 04:39 AM

I'm not crazy about what that much reverb does to the sound of the lead, but boy, does that one note rhythm stuff in the beginning of the Gestics song sound great or what?

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jdangerously57

Joined: Nov 21, 2010
Posts: 236
Medford, OR, USA
United States

Posted on Jun 01 2013 02:13 PM

skeeter wrote:

The Centurions used to use a pretty sick amount of reverb.

They definitely were not ones to fear the reverb.

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-Damon.

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dragonsurfer

Joined: Apr 17, 2008
Posts: 128

Posted on Mar 28 2018 09:56 PM

Interesting thread and definitely something worth pondering.

Listening to the suggested tracks, many of them were basically poor recordings coupled with perhaps worn out media (45's).

To say there was more reverb on one than the other is difficult to judge in that the recording the way the engineer put it together may have covered up what really happened in the studio or how the artist set their gear for the song.

To my ears the Astronauts had the better recordings and the reverb amount was more discernible.

That said Rockin' Fury by the Gestics sounds like the engineer did not separate the dry track from the wet making the guitar tracks sound further away which is what happens when too much verb is used.

If the OP's title INTENTION of this thread was the judgment of the recording, the end result of the track or the gear setup style of the artists on the tracks, needs to be qualified because many of the tracks were not recorded to give a proper indication of the artist's style and gear setting druthers.

The Astronauts were lucky to have been recorded by David Hassinger who did many hit songs lending his producer-engineer style to a slew of hit-bands and artists and shaping the sound of the 60's like the Rolling Stones, Mamas and Papas, the Electric Prunes, Elvis, Sinatra.

Hassinger would have had contact with the Wrecking Crew as RCA where he was an engineer, was on the list of Los Angeles studios the Wrecking Crew were on first call as Spector's Wall of Sound session players.

We note that in the case of the Electric Prunes' I Had Too Much To Dream Last Night Hassinger owned the band's name, the recordings, with the Prunes' first album hosting their hit song, having been played by other musicians other than the band members themselves.

Who was on that album as session has not been revealed as of yet.

From my POV The Astronauts with Baja and album Surfin' With The Astronauts has the most reverb simply because the track has a more "reference" treatment to it to note the intention of the engineer.

And since it's been established The Astronauts were not really a surf band but a record company concoction, what Fifield et al thought of guitars and tanks is at this point lost in the corporate shuffle. They were a pop group with a singer and after The Astronauts broke minus the singer, the record company tried to get The Astronauts to rival the Beach Boys, but the vocal abilities were not up to par.

When The Astronauts hit, their recordings stood out from my heroes The Ventures album recording approaches and the reverb was, back then, really out there taking surf and verb to a new level.

Guess Joe Boles was the first 'indie' hit maker engineer with The Ventures' Walk Don't Run in 1960 from his Seattle home basement studio.

Joe Boles in his Seattle home studio 1950's.

Last edited: Mar 28, 2018 22:19:24

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Syndicateofsurf

Joined: Oct 08, 2014
Posts: 1073
Northern Ohio
United States

Posted on Mar 29 2018 08:35 AM

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The quest for the Tone, the tone of the Quest

The Syndicate of Surf on YouTube

http://www.syndicateofsurf.com/

http://sharawaji.com/

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Brian

Joined: Feb 25, 2006
Posts: 19351
Des Moines, Iowa, USA
United States

Posted on Mar 29 2018 09:30 AM

Attaching a video of the song that sparked this thread for completeness.

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Site dude - S3 Agent #202
Need help with the site? SG101 FAQ - Send me a private message - Email me

"It starts... when it begins" -- Ralf Kilauea

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dragonsurfer

Joined: Apr 17, 2008
Posts: 128

Posted on Mar 29 2018 10:28 AM

Now that's a "wilder side" of Lou. Metal Machine Music

Reminds me of something I did in college on an EMS Putney.

Here's something similar done on a Buchla from 'ole Morton circa 1967.

Silver Apples of the Moon

And then Hassinger's I Had Too Much To Dream by The Electric Prunes from 1966 written by Annette Tucker and Nancie Mantz.

Has that "pipeline" ambiance.

Last edited: Mar 29, 2018 11:04:10

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JObeast

Joined: Jul 24, 2012
Posts: 2762
Finknabad, Squinkistan
Turkmenistan

Posted on Mar 29 2018 11:47 AM

I don’t listen to a lot of contemporary pop or rap; what I hear passing through the radio band never intrigues me to pause. If I did hear some vintage sounds in the mix I might stop and listen. Needless to say, the reverb drip does not make it to commercial recording these days.

But drippy tank reverb on a percussion track is spectacular. With all the DAWs processing every nuance of every record you’d think it would show up. Those clever producers and beat scientists must have some excellent reason for leaving it out of the canon of orthodox beatz...

—

Squink Out!

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dragonsurfer

Joined: Apr 17, 2008
Posts: 128

Posted on Mar 29 2018 12:43 PM

Dub was around since the early 1960's and it inspired many genres, including rock, punk-rock, EDM and hip hop.

This was the advent of lo-fi using low quality gear, cassette tapes in a DIY genre. The early rap and hip-hop was for the most part, lo-fi simply because the gear available to the genre starting up was not professional quality slick.

The use of spring tanks is essential to dub.

Here is another gear addition to the tank genre.

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killbabykill34 Joined: Apr 03, 2010 Posts: 3201 Jacksonville, AL	Posted on May 23 2013 03:51 PM mmmmm...Guitar Wolf....mmmmm....Mad 3... — THE KBK ... This is the last known signal. We offer Sanctuary. www.thekbk.com http://www.deepeddy.net/artists/thekbk/ www.reverbnation.com/thekbk www.facebook.com/thekbkal Top
Aaron Joined: Sep 13, 2011 Posts: 100	Posted on May 24 2013 04:39 AM I'm not crazy about what that much reverb does to the sound of the lead, but boy, does that one note rhythm stuff in the beginning of the Gestics song sound great or what? Top
jdangerously57 Joined: Nov 21, 2010 Posts: 236 Medford, OR, USA	Posted on Jun 01 2013 02:13 PM skeeter wrote: The Centurions used to use a pretty sick amount of reverb. They definitely were not ones to fear the reverb. — -Damon. Top
dragonsurfer Joined: Apr 17, 2008 Posts: 128	Posted on Mar 28 2018 09:56 PM Interesting thread and definitely something worth pondering. Listening to the suggested tracks, many of them were basically poor recordings coupled with perhaps worn out media (45's). To say there was more reverb on one than the other is difficult to judge in that the recording the way the engineer put it together may have covered up what really happened in the studio or how the artist set their gear for the song. To my ears the Astronauts had the better recordings and the reverb amount was more discernible. That said Rockin' Fury by the Gestics sounds like the engineer did not separate the dry track from the wet making the guitar tracks sound further away which is what happens when too much verb is used. If the OP's title INTENTION of this thread was the judgment of the recording, the end result of the track or the gear setup style of the artists on the tracks, needs to be qualified because many of the tracks were not recorded to give a proper indication of the artist's style and gear setting druthers. The Astronauts were lucky to have been recorded by David Hassinger who did many hit songs lending his producer-engineer style to a slew of hit-bands and artists and shaping the sound of the 60's like the Rolling Stones, Mamas and Papas, the Electric Prunes, Elvis, Sinatra. Hassinger would have had contact with the Wrecking Crew as RCA where he was an engineer, was on the list of Los Angeles studios the Wrecking Crew were on first call as Spector's Wall of Sound session players. We note that in the case of the Electric Prunes' I Had Too Much To Dream Last Night Hassinger owned the band's name, the recordings, with the Prunes' first album hosting their hit song, having been played by other musicians other than the band members themselves. Who was on that album as session has not been revealed as of yet. From my POV The Astronauts with Baja and album Surfin' With The Astronauts has the most reverb simply because the track has a more "reference" treatment to it to note the intention of the engineer. And since it's been established The Astronauts were not really a surf band but a record company concoction, what Fifield et al thought of guitars and tanks is at this point lost in the corporate shuffle. They were a pop group with a singer and after The Astronauts broke minus the singer, the record company tried to get The Astronauts to rival the Beach Boys, but the vocal abilities were not up to par. When The Astronauts hit, their recordings stood out from my heroes The Ventures album recording approaches and the reverb was, back then, really out there taking surf and verb to a new level. Guess Joe Boles was the first 'indie' hit maker engineer with The Ventures' Walk Don't Run in 1960 from his Seattle home basement studio. Joe Boles in his Seattle home studio 1950's. Last edited: Mar 28, 2018 22:19:24 Top
Syndicateofsurf Joined: Oct 08, 2014 Posts: 1073 Northern Ohio	Posted on Mar 29 2018 08:35 AM — Da Vinci Flinglestein, The quest for the Tone, the tone of the Quest The Syndicate of Surf on YouTube http://www.syndicateofsurf.com/ http://sharawaji.com/ http://surfrockradio.com/ Top
Brian Joined: Feb 25, 2006 Posts: 19351 Des Moines, Iowa, USA	Posted on Mar 29 2018 09:30 AM Attaching a video of the song that sparked this thread for completeness. — Site dude - S3 Agent #202 Need help with the site? SG101 FAQ - Send me a private message - Email me "It starts... when it begins" -- Ralf Kilauea Top
dragonsurfer Joined: Apr 17, 2008 Posts: 128	Posted on Mar 29 2018 10:28 AM Now that's a "wilder side" of Lou. Metal Machine Music Reminds me of something I did in college on an EMS Putney. Here's something similar done on a Buchla from 'ole Morton circa 1967. Silver Apples of the Moon And then Hassinger's I Had Too Much To Dream by The Electric Prunes from 1966 written by Annette Tucker and Nancie Mantz. Has that "pipeline" ambiance. Last edited: Mar 29, 2018 11:04:10 Top
JObeast Joined: Jul 24, 2012 Posts: 2762 Finknabad, Squinkistan	Posted on Mar 29 2018 11:47 AM I don’t listen to a lot of contemporary pop or rap; what I hear passing through the radio band never intrigues me to pause. If I did hear some vintage sounds in the mix I might stop and listen. Needless to say, the reverb drip does not make it to commercial recording these days. But drippy tank reverb on a percussion track is spectacular. With all the DAWs processing every nuance of every record you’d think it would show up. Those clever producers and beat scientists must have some excellent reason for leaving it out of the canon of orthodox beatz... — Squink Out! Top
dragonsurfer Joined: Apr 17, 2008 Posts: 128	Posted on Mar 29 2018 12:43 PM Dub was around since the early 1960's and it inspired many genres, including rock, punk-rock, EDM and hip hop. This was the advent of lo-fi using low quality gear, cassette tapes in a DIY genre. The early rap and hip-hop was for the most part, lo-fi simply because the gear available to the genre starting up was not professional quality slick. The use of spring tanks is essential to dub. Here is another gear addition to the tank genre. Top

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The maximun amount of Reverb ever heard...!!!